DYNAMIC OF THE SCENIC IMAGE IN DANCE PERFORMANC

Authors

  • Nicoleta-Cristina Demian Academy of Music “Gheorghe Dima” Cluj-Napoca, European ballet was born from the magnificent parade of Louis XIV, for whom ballet was the greatest, entertainment. In 1661 he created the Dance Academy, whose first headmaster was Charles Beauchamps, and, that was the beginning of professional dance. Choreography, form and theme of a ballet, its ideas and emotional, implications must be controlled by reason. In those days, the ballet language, the code of the specific movements, was created. The ballet technique was established and it will be called classic from now on., In early XVIII century, the opera was the performance for social elites, and ballet was its most sparkling part., The concept of theatrical dance is now established, and that has been the name which we used today for the, superior type of dance – a combination between mere dance and the art of artistic gesture. Jean Georges Noverre, was the greatest reformer of theatrical dance in classicism – his concepts about the meaning of dance, performances enrich not only the technique but the ballet performance itself., Ballet was either a part of an opera performance or a spectacle with lyrical moments and dance, haven’t had, a definite form yet at the end of XVIII century. Although, the technical progress as well as the definite theme of a, ballet performance, the goal of the choreographers and performers to give the most appropriate expression, made, us to affirm that there was a ballet structure which announces the golden age of Russian ballets. One can say that, the ballet as an artistic genre was a process accomplished by the end of XVIII century., In romantic period, there are some acquirements for a ballet – a fusion between mime and pure gesture,, dance must be the single mean of expression in such a performance; were established new relations between, music and scenery, new techniques for creation and for dance movements. The romantic ballet masterpieces,, Swan Lake, Sleeping Beauty, Nutcracker, were born from the artistic marriage of Marius Petipa and P.I., Tchaikovsky., At the beginning of XXcentury the world of ballet assisted to “a new aesthetic revolution” - it was the name, of the artistic concept of Serge Diaghileff, for whom the dance performance represented a synthesis of all arts, the, finest human expression. Les Saissonnes Russes from Parishadpresented emblematic ballet performances for 20, years (1909-1929), had been concentrated on collaboration among great musicians, original choreographers,, modern painters and finest dancers, and had been opening the door for new experiments of technique and directing, of dance., After the death of Diaghileff, ballet became decadent, but new experiments become possible. National, schools of dance were created and the revolutionary choreographers proclaim the liberation of dance from the, classicist grip, the freedom of the artist and of the individual in relation to the society. The revolutionists Serge Lifar,, Isadora Duncan, Mary Wigman and Martha Graham are the creators of the new type of dance in France, Germany, and America. Every one of them is an exponent of a new dance style. Lifar promotes and writes about a new type, of academic dance, free from the music tyranny. For Isadora Duncan, dance is an intellectual emotion, an artistic Author

Keywords:

Scenic Image, Dance Performance, Comparative Art

Abstract

We are living today in the middle of eclectic vision of the artist’s sources. There is a permanent searching of new means of expression, from an extreme point of view to another. Most of the contemporary dance work could appear to the average spectator a total and foolish breaking off any tradition. Anyway, behind of that wild apparent originality there are older, primitive and exotic sources. Choreographic performance has the ambition to be today what the theatre was in ancient world – a sort of consciousness of humanity. The accent of an art piece isn’t putting on its aesthetic, decorative values but on its emotional power. More than that, contemporary dance work is nowadays the expression of the artist’s personality, which established his/her own rules, founded new art forms according to his/her actual state of mind and soul. New dance performances borrow some formal and conceptual functions from drama staging regarding direction and interpretation. New movements, new relations between dance and the other components of a spectacle, new relations between dancers appear, as well. We dare to say that the dance theatre exist through its theatrical/stage image. On one hand, the stage image is like an intermediate between the creator and the public, a mean of expression for the choreographer, and on the other hand, the stage image is what the public receive, through this image the performance lives for the public

International Musicology Congress Vol. 1 No. 4, 2018

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Published

2026-02-11

Issue

Vol. 1 No. 4 (2018): International Musicology Congress

Section

Articles